Joelle Wallach

552 Riverside Drive, #5E, New York, New York 10027 [email protected] (212) 662-6134 www.wallach.emg5-liquidwebsites.com

Education

• Doctor of Musical Arts: Composition. Manhattan School of Music. Ancillary fields in theory, piano and voice
• Digital Music Certificate – Massachusetts Institute of Technology
• Master of Arts : Musical Composition. Graduate Faculties, Columbia University
• Bachelor of Arts: Musical Composition. Sarah Lawrence College
• Principal Teachers: John Corigliano, Manhattan School of Music
• Meyer Kupferman, Sarah Lawrence College

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Teaching, Public Lectures, and Academic Experience

• The New York Philharmonic, (1990-1992, 2005-present) Preparing and presenting pre-concert lectures to build audience attendance and donor support
• The 92nd Street YMHA, School of Music, (2006-present)
• Developing, inaugurating and delivering new programming linking music to the history of ideas
• National Parks Service, Acadia National Park, Artist in Residence (2006) created and conducted public workshops
• Fulbright Senior Specialists Program, Council for the International Exchange of Scholars, (2002-2006)
• The Frick Collection, (2005) Invented, wrote and delivered lecture linking visiting exhibits with in-house concerts
• Bursting Out of the Box, creativity consulting (2002- )
• Empire State College, S.U.N.Y., Preceptor and Evaluations Consultant 1995-97, 1980-1984
• Billings [Montana] Symphony, Composer in Residence, educational outreach programs 1994-5
• Hudson Valley Philharmonic, Composer in Residence, educational outreach programs 1985, 1987
• Lincoln Center Institute, Teaching Artist, designing/implementing new curricula 1990
• Fordham University, Assistant. Professor of Music:: Music History, Jazz, Musical Concepts 1981-83
• Manhattan School of Music, Doctoral Teaching Fellow: music theory, sight-singing, dictation 1980-1982
• Hunter College, C.U.N.Y., Center for Lifelong Learning. “Patterns of Contemporary Culture” 1978-79

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Orchestral Positions and Residencies

• Composer-in-Residence, Gold Coast Chamber Players, (San Francisco, CA) 2003-2005
• Piccolo Spoleto Festival/ Charles Ives Center for American Music/ Charleston (SC) Symphony 2002
• San Jose Symphony, Guest Composer 1998 San Jose Chamber Orchestra, Guest Composer 1999, 1998
• Wayne Chamber Orchestra, Guest Composer 1998-2000
• Harvestworks, PASS digital/electronic studio, Composer Digital Programming Fellow 1995
• Billings [Montana] Symphony, Composer-in-Residence 1994-5
• Lake Placid Symphonietta, Composer-in-Residence 1992
• National Orchestral Association, Fellow 1990-1991
• New York Philharmonic Orchestra, Pre-concert Lecturer 1990-91
• Hudson Valley Philharmonic, Composer-in-Residence 1985, 1987

Music for Dance, Theater and Opera

• Ballet: Glancing Below, Carlisle Project, Hartford Ballet, Guild of Musicians for Dance and the Juilliard Dance Theater
• Chamber opera: The King’s Twelve Moons the Purple Circle Opera Company, New York City, CitiCorp Center
• Improvisation for the Martha Graham, Merce Cunningham, Paul Taylor Dance Companies, Sarah Lawrence College, Bessie Schonberg, Meredith Monk, Yuriko, Donald McKayle, Ruth Currier etc.

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Recent Selected Commissions and Performances

• The Clothes of Heaven for 40 unaccompanied voices, Manhattan Choral Ensemble commission 2006
• In a Dark Time, for horn and piano, International Women’s Brass Conference commission 2005-6
• Therefore, for a cappella chamber choir, New York Virtuosi, New York City 2005
• Beyond the Shadow of the Rain, meditations on a Shang Dong folksong, for violin, viola and cello, commissioned by the Jade String Trio 2003, Shanghai and New York City, 2004
• After Alcyon’s Dream for clarinet, viola and piano, commissioned by the Halcyon Trio 2003
• The Tiger’s Tail. an orchestral overture
• Spoleto Festival and Charles Ives Festival of American Music 2002
• San Jose Symphony, March 8,9, 1997
• Women’s Philharmonic, San Francisco Sept. 27, 1991
• National Orchestral Association NYC March 23, 1991
• A Revisitation of Myth for piano, viola and medium voice “Cutting Edge Concerts” NYC April 4, 2002 and Donnell Library Series 2002
• Why the Caged Bird Sings for treble voices, horn, piano or strings, Plymouth Music Series [VocalEssence] Philip Brunell, Music Director 2002
• Sextet for woodwind quintet and piano, American Chamber Ensemble 2001
• String Quartet #3 commissioned by the Arizona Friends of Chamber Music for the Muir Quartet, 1999-2001
• From the Almanac of Last Things for piano and medium voice, commissioned by Paul Sperry for the Joy In Singing’s Millennial Concert 2001
• Glancing Below, a ballet for eight players:
• Showcase Presentation of the Juilliard Dance Theater 1999
• Hartford Ballet and Hartford Symphony, 1995;
• Guild of Musicians for Dance, Hunter College, NYC 1995;
• commissioned by The Carlisle Project, for the Drake Theater, Philadelphia, 1994
• Loveletter (postmark San Jose), for euphonium and strings, commissioned by the San Jose Chamber orchestra 1999
• Toward a Time of Renewal for large chorus, four solo voices and symphony orchestra. commissioned by The New York Choral Society, 1994, Carnegie Hall, NYC; Columbia University April 25, 1998
• String Quartet (1995) La Musica Festival, Sarasota FL 1996
• La musica, los muertos y las estrellas for a cappella SATB
• Plymouth Music Series, Walker Arts Center, Minneapolis 1994
• Florilegium Chamber Choir, Merkin Hall, Lincoln Center, NYC May 29, 1989
• Shadow, Sighs and Songs of Longing for cello and orchestra, Billings [Montana] Symphony, 1994
• Where Angels May Lie Down Among Us
• Boston Chamber Ensemble, Cambridge, MA 1994;
• Commissioned and premiered by the Lake Placid Symphonietta, 1992
• From the Forest of Chimneys, an octet for clarinet, bassoon, horn and strings.
• Commissioned and premiered by The New York Philharmonic Ensembles, opening subscription concert 1992
• Sweet Briar Elegies for soprano saxophone and cello ensemble.
• Commissioned and premiered by Le Festival Internationale des Violoncelles, Paris and Beauvais [France], May 1993
• Three Short Sacred Anthems for unaccompanied treble voice, Union Theological Seminary Symposium and Film: Beauty and Liturgy 1993
• The Wreath of Silver Birds, a suite for unaccompanied piccolo, The Art Institute of Chicago, in conjunction with their Magritte Exhibit 1993
• “Epistolary,” from Daughters of Silence New York Festival of Song, Weill Hall, NYC 1992
• The King’s Twelve Moons a chamber opera, Magic Circle Opera Repertory Ensemble at the CitiCorp Center, New York City 1992
• Three Whitman Songs for voice, clarinet, French horn and bassoon. American Chamber Ensemble 1992
• String Quartet (1986) Charles Ives Center for American Music 1991

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Grants, Honors and Awards

• Drisha Institute, Artist Fellow 2007-2008
• Manhattan Choral Ensemble First Prize, for The Clothes of Heaven for 40 unaccompanied voices 2006
• New York Virtuoso Singers Choral Composition Competition for Therefore 2005
• First Prize, First Annual Jezick Ensemble Prize for treble choir for Why the Caged Bird Sings 2004
• International Alliance for Women in Music, Miriam Gideon Prize for A Revisitation of Myth 2003
• Waging Peace for Toward a Time of Renewal for orchestra and chorus 2002
• Arizona Friends of Chamber Music String Quartet Competition Commission 1999 (String Quartet #3)
• Women’s Philharmonic Orchestral Reading Fellow 1998 In Memory the Heart Still Sings
• Artist Fund Fellowship New York Foundation for the Arts, 1998
• First Prize New England Chamber Orchestra Competition 1994 for Where Angels May Lie Down Among Us
• Tyrone Guthrie Fellowship 1994
• First Prize International Eisteddfod Competition 1992 for La musica, los muertos y las estrellas
• Chamber Composition Grant A.C.T.S. Foundation 1992
• First Prize New Music for Young Ensembles, 1991 for Woodwind Quintet, O llama de amor viva
• First Prize Amadeus Choir, 1991, (Toronto) for Three Short Sacred Anthems and The Oxen Carol
• Orchestral Reading Fellowship National Orchestral Association, 1990-91 The Tiger’s Tail
• First Prize First Universalist Church New Music Competition 1989 for Three Spanish Songs
• Delius Foundation Grand Prize and Chamber Music Award 1988 for Organal Voices
• The Church and the Artist (Archdiocese of Seattle) 1987 for Orison of Ste Theresa
• Ludwig Vogelstein Foundation Fellowship 1986
• Artists Fellowship [Inaugural Year] New Jersey State Council on the Arts (in recognition of “Outstanding Artist Merit” and “Achievement as an Artist”) 1984-1985
• First Prize Baroque Choral Guild 1984 for Five American Echoes
• First Prize Delta Omicron Competition 1984 for Forewords
• First Prize Chamber Symphony of Princeton 1984 for Turbulence, Stillness and Saltation
• First Prize New Music for Young Ensembles 1984 for Of Honey and Of Vinegar
• First Prizes National League of American Pen Women 1988, 1986, 1987, 1985, 1983, 1982
• First Prize Inter-American Music Awards, Sigma Alpha Iota 1980 for On the Beach At Night Alone

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Memberships and Offices in Professional Societies

• Joy in Singing, Board of Directors 2004- 2007
• Council for the In’tl Exchange of Scholars:.U.S. Studies review committee, Fulbright Senior Specialists Program 2002-
• Society of Composers, Inc, Executive Committee 1984-1993; Submissions Coordinator 1986-1993; Editor, “Newsletter”, American Composers Alliance 1974-1998 (Nominating Committee 1989, 1987, 1985)
• American Music Center, BMI (Broadcast Music Incorporated)

Artist Residencies and Retreats

• Virginia Center for the Creative Arts 1985, 1986, 1988, 1990, 1991, 1993, 1995, 1997, 1999, 2001, 2002, 2005, 2007
• The Centrum Foundation 2003
• The Eastern Frontier 2003
• The Millay Colony 1999,
• Villa Montalvo Center for the Arts, 1998, 1996, 1987
• Yaddo 1997, 1991
• Djerassi Foundation, 1996
• Tyrone Guthrie Centre, Annemagkerrig, Ireland 1994
• Ragdale Foundation 1992, 1993, 1994
• Banff, Leighton Artist Colony, Banff, Alberta, Canada, 1989

Publishers

• E.C.Schirmer
• C.F. Peters
• Carl Fischer

Recording Labels

• Capstone New Ariel Recordings
• IMA
• Vienna Modern Masters
• Opus One
• CRS

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